Reg Export Strategy for CARIFORUM Creative Industries - Film VCA Report

Development of a Regional Export Strategy for the Creative Industries

Services

Value Chain Analysis Report:

FILM

Prepared by: VISUAL & PERFORMING ARTS JAMAICA (VPAJ) and KEA EUROPEAN AFFAIRS (KEA)

Submitted to: CARIBBEAN EXPORT DEVELOPMENT AGENCY

Finalised: 11th November 2015

Regional Export Strategy: Film VCA Report ‐ of 44 ‐ Last updated: 11/11/15

TABLE OF CONTENTS

List of Acronyms ....................................................................................................................... 4

Acknowledgements .................................................................................................................. 5

1. Introduction ........................................................................................................................ 6

1.1. Definition of Value Chains .......................................................................................... 6

1.2. Sectoral Scope: CARIFORUM Film ‐ Services and Goods .............................................. 7

1.3. Geographical Scope: CARIFORUM and European Union .............................................. 7

1.4. Methodology .............................................................................................................. 8

2. Mapping the Value Chains for CARIFORUM CCIs .................................................................. 9

3. Market Opportunities for CARIFORUM’s Film Industry ...................................................... 10

3.1. Overview of the Global Film Market ......................................................................... 10

3.2 Overview of the European Film Market .................................................................... 10

3.2. Trends in the EU for Film .......................................................................................... 13

3.3. Trends in CARIFORUM for Film ................................................................................. 14

3.3.1 Characteristics of CARIFORUM Film professionals ..................................................... 14

3.3.2 Current export activities of CARIFORUM Film professionals ...................................... 16

3.3.3 Export support framework for CARIFORUM Film professionals ................................ 21

4. Bottlenecks along the Film Value Chain ............................................................................. 22

4.1. Export challenges facing CARIFORUM Film professionals .......................................... 22

4.2. Challenges within EU for CARIFORUM Film ............................................................... 25

5. Recommendations to Boost Export of CARIFORUM Film ................................................... 27

5.1. Improving export support for CARIFORUM Film professionals .................................. 27

5.2. Good practices in the EU Member States for Film ..................................................... 32

5.3. Scope for business cooperation between the EU and CARIFORUM for Film .............. 33

5.4. Image and Reputation of CARIFORUM CCIs .............................................................. 34

5.5. Export support activities ........................................................................................... 35

5.6. Expand commercial activities .................................................................................... 35

Annex 1: Details of Survey Respondents – Film ...................................................................... 38

Annex 2: List of Stakeholders Consulted for Film in EU Member States .................................. 39

Annex 3: Key EU Stakeholders for CARIFORUM’s Film Industry .............................................. 41


LIST OF FIGURES

Figure 1: Basic Creative Chain ..................................................................................................... 6

Figure 2: Mapping of respondents along Value Chain for CARIFORUM Film ............................ 15

Figure 3: Company age range for CARIFORUM Film respondents ............................................. 16

Figure 4: Comparison of total and export sales for CARIFORUM Film respondents ................. 17

Figure 5: Most important export modes for CARIFORUM Film professionals ........................... 18

Figure 6: Prevalence of exports to CARIFORUM, EU and other markets by CARIFORUM Film professionals ................................................................................................................ 19

Figure 7: Sources of support used by CARIFORUM Film professionals for their export activities ...................................................................................................................................... 21

Figure 8: Most important export challenges facing CARIFORUM Film professionals ................ 23

Figure 9: Experience of CARIFORUM Film professionals to access export financing ................. 24

Figure 10: Prioritisation of export services by CARIFORUM Film professionals ........................ 28

Figure 11: Willingness of CARIFORUM Film professionals to pay for export‐related services .. 29

Figure 12: Export services for which CARIFORUM Film professionals would pay ..................... 30

Figure 13: Export services to be prioritised by Caribbean Export for CARIFORUM Film professionals ................................................................................................................ 31

LIST OF TABLES

Table 1: Related Services and Goods for Film .............................................................................. 7

Table 2: Facts and figures on the European Film Industry ......................................................... 11

Table 3: Size of the EU audiovisual market 2009‐2013 .............................................................. 12

Table 4: Rating of export challenges by CARIFORUM Film professionals (no. of respondents) 22

Table 5: Rating of export financing challenges by CARIFORUM Film professionals (no. of respondents) ................................................................................................................ 25

Table A1: Breakdown of respondents in CARIFORUM Film value chain .................................... 38

Table A2‐1: List of stakeholders consulted for Film in the EU ................................................... 39

Table A3‐1: List of stakeholders for Film in the selected EU Member States ............................ 42


List of Acronyms

CARICOM Caribbean Community – regional institution comprising 15 member states

CARIFORUM CARICOM plus the Dominican Republic.

Caribbean Export Caribbean Export Development Agency

CCIs Cultural and Creative Industries

CDB Caribbean Development Bank

EC European Commission

EU European Union

EU‐28 European Union (including 28 Member States)

Eurostat Statistical Office of the European Union

GDP Gross Domestic Product

ITC International Trade Centre (UN)

IDB Inter‐American Development Bank

LAC Latin America and Caribbean

OECD Organization for Economic Cooperation and Development

OECS Organization of Eastern Caribbean States

SME Small and medium‐sized enterprise

UNCTAD United Nations Conference on Trade and Development

UNDP United Nations Development Programme

VC Value Chain

VCA Value Chain Analysis

Country Abbreviations for EU Member States selected for this project: DK Denmark DE Germany EE Estonia ES Spain FI Finland FR France IT Italy NL Netherlands UK United Kingdom


Acknowledgements

This consultancy has been conducted within the framework of the 10th European Development Fund (EDF), under which the Caribbean Export Development Agency is responsible for implementing the Regional Private Sector Development Programme (RPSDP). It was undertaken by the Visual & Performing Arts Jamaica (Trevor Fearon, Katrine Smith) in partnership with KEA European Affairs (Yolanda Smits, Arthur Le Gall, Ayla Assy‐Lacoste). The research was conducted over several months culminating in May 2015 in all 16 CARIFORUM countries and 9 European Union Member States (Denmark, Estonia, Finland, France, Germany, the Netherlands, Spain, Sweden and the United Kingdom). It involved desk research, interviews with approximately 75 individuals in the EU, and an online survey which garnered inputs from more than 400 creative professionals across CARIFORUM in the 6 creative industries being explored: Music (recorded and live), Film, Fashion, Jewellery, Painting, and Arts & Craft. On the CARIFORUM side, the fieldwork was conducted by the network of Local Experts, under the guidance of VPAJ, each with responsibility for collecting data, assessing the specific situation, engaging with potential stakeholders, and recording their views. The authors particularly wish to acknowledge the contributions of: Andrea King (Barbados), Jacklyn Castillo (Belize), Lucilla Lewis (Dominica), Carlos Delgado Imbert (Dominican Republic), Christopher DeRiggs (Grenada), Enrico Woolford (Guyana), Louise Carmel Bijoux (Haiti), Damaris Mayne (Jamaica), Nerissa Greenaway‐Golden (Montserrat), Telojo Onu (St. Kitts & Nevis, St. Vincent & Grenadines), Barbara Jacobs Small and Finola Prescott (St. Lucia), Farley Joseph (Trinidad and Tobago), and Donald Demeritte (The Bahamas). The Caribbean is fortunate to have so many individuals who are highly knowledgeable and with considerable experience in all aspects of the CARIFORUM Creative Industries. The authors’ heartfelt thanks are extended to all those who took part in the research, for having shared their expertise with such generosity and enthusiasm. The consultancy has yielded six industry‐specific Value Chain Analysis (VCA) Reports (including this one) as well as a Final VCA Report with Regional Export Strategy & Action Plan. These reflect the collated information and its interpretation by the authors, and not necessarily the views of the Local Experts or the Agency. Feedback and questions are welcome:

Katrine Smith

Visual & Performing Arts Jamaica (VPAJ)

[email protected]

P.O. Box 2470, Kingston Jamaica

Tel. (1876) 399 2552 or 632 5522


1. Introduction

1.1. Definition of Value Chains

A value chain, also referred in the framework of the Cultural & Creative Industries (CCIs) as a 'creative chain', has been described as "a sequence of activities during which value is added to a new product or service as it makes its way from invention to final distribution" (Botkin and Matthews 1992, p. 26). The creative chain consists of an initial creative idea, which is usually combined with other inputs to produce a culture good or service, through a series of interlinked stages between their production and use. A culture product must be created, produced, possibly manufactured or reproduced, and then distributed before it reaches, or is used by, a consumer. This chain of activity includes a number of distinct steps, usually occurring in business establishments.1 The basic steps of the creative chain are shown in the figure below.

Figure 1: Basic Creative Chain

In this basic chain, “creation” incorporates “concept” & “design”, while “dissemination” includes marketing, sales, distribution and the other value‐added activities that occur prior to use/consumption. Accordingly, the chains will differ according to the good or service, the targeted markets and other factors. However, in order to collect harmonised and, when possible, comparable data, we are going to use a simple value chain as a framework of analysis (linear value chain). Nevertheless, we consider the local ecosystem as a key factor influencing CCIs’ supply chain and their performance. The value chain’s analysis will therefore include the analysis of the policy environment, measures and key actors enabling the sector’s development and growth. In elaborating on these chains, special emphasis will be placed on determining the existence of and/or practical scope for integration of complementary inputs at any point along the chain, from differing CARIFORUM member states up to and including the final stage of the chain.

1 Canadian Framework for Cultural Statistics (2011).


On this basis, this report considers the value chains using a two‐fold approach: analysis of the supply (CARIFORUM) side, and analysis of the demand (EU) side. With regards to possible business cooperation opportunities in the target EU markets, attention has been given, where possible, to the following inter alia: EU distributor or agent (including marketing and promotional activities); joint‐ventures and e‐commerce platforms ‐ both Business‐to‐Consumer (B2C) and Business‐to‐Business (B2B).

1.2. Sectoral Scope: CARIFORUM Film ‐ Services and Goods

For this consultancy, 6 CIs were selected for study of their value chains reflecting both goods and services: Music (recorded and live), Film, Fashion, Jewellery, Painting, and Arts & Craft. To determine the goods and services that fall within these sub sectors, the team utilised a combination of the definitions used for the CCIs in UNCTAD Creative Economy Report 2010, the UNESCO Framework for Cultural Statistics (FCS) as well as the KEA report of 2006 on the Economy of Culture.

Table 1: Related Services and Goods for Film

Related Services Related Goods

(physical and intangible2)

Production of audio‐visual (AV) works and associated services e.g. sound recording

Location services

Distribution of AV works

Promotion of AV works

Exhibition and screening of AV works

Royalties and license fees

Films & AV works – 35 mm, CDP and formats

1.3. Geographical Scope: CARIFORUM and European Union

The geographical scope of the project includes all 16 CARIFORUM countries: Antigua and Barbuda, The Bahamas, Barbados, Belize, Dominica, Dominican Republic, Haiti, Grenada, Guyana, Jamaica, Montserrat, St. Lucia, St. Kitts and Nevis, St. Vincent and the Grenadines, Suriname, and Trinidad and Tobago.

2 Definition derived from http://en.wikipedia.org/wiki/Intangible_good (accessed on 16.11.14).


On the EU side, the Consultancy considers selected markets of the European Union to explore trade opportunities: Denmark, Estonia, Finland, France, Germany, the Netherlands, Spain, Sweden and the United Kingdom (9 Member States).

1.4. Methodology

The methodology employed in this Consultancy combined desk research, face‐to‐face interaction, online surveys as well as virtual communication in order to achieve the expected results. This multifaceted approach is summarised below:

‐ Overview of CCIs locally and examination of export opportunities along the value chain:

o Desk research to collect preliminary data (quantitative and qualitative) on the export value chains of the selected sub sectors of the CCIs in Caribbean countries, and to gather information on target markets for exports (EU countries).

o Meetings with stakeholders, where necessary to supplement the desk research.

‐ Comprehensive mapping of the value chains for the CCIs in selected EU Member States, and identification of opportunities for CARIFORUM CCIs – using a combination of an online survey, desk research and fieldwork.

o Online questionnaire (survey) was designed in SurveyMonkey for use across the Caribbean by the core team and Local Exports in consultations with creative practitioners.

o Fieldwork at local level was conducted by the network of Local Experts, under the guidance of VPAJ, each with responsibility for collecting data, assessing the specific situation, engaging with potential stakeholders, and recording their views. This equivalent work in the EU member states was conducted by KEA.

‐ Road map for enhancing the competitiveness of CCIs in entering the value chain which considers export growth potential and existing bottlenecks, with accompanying strategy and action plan to address the constraints faced by CARIFORUM CCIs practitioners in their exports. Wherever possible, this references international best practices, and puts forward recommendations for CARIFORUM CCIs, including niche markets, important festivals/trade fairs, key actors for partnerships at international level as well as cooperation arrangements for mutual benefit (e.g. joint ventures, visibility in partners’ markets, twinning and exchange programmes etc.). As relevant, the strategy also provides recommendations on potential clustering opportunities in CARIFORUM countries to e.g. develop joint marketing strategies, lower export costs, and improve the visibility of their products and services in priority markets.

‐ Through industry validation of this Final VCA Report, the team will make the necessary


adjustments to correct for errors or oversights, and to reflect critical additional input.

Survey respondents

The following discussion is based on the results collected through this survey exercise for the 55 professionals who specified ‘Film’ as their main industry. They are based in 15 of the 16 CARIFORUM countries. Only in some instances is the full survey dataset discussed: 410 creative professionals involved in the 7 CCIs/sub‐sectors, based in 15 CARIFORUM countries (as of 31st May 2015). Methodological limitations

The most significant methodological limitation has been the varying – and at times, small – numbers of creative professionals who participated in the survey. The resultant sample size at times limited the authors’ abilities to reach conclusions for some of the survey questions. The authors therefore hereby acknowledge that this report does not present a definitive characterisation of the CARIFORUM CIs, but rather provides a foundation upon which to build. Reports

An industry‐specific Value Chain Analysis (VCA) Report like this one has been drawn up for each of the six CIs under review ‐ namely Music (recorded and live), Film, Fashion, Jewellery, Painting, and Arts & Craft. The results from each are aggregated into an overarching report, entitled “Development of a Regional Export Strategy for the Creative Industries Services: Value Chain Analyses Final Report”. Whilst the latter includes some industry specificity, it is recommended that the relevant industry‐specific VCA Reports are read in conjunction with the Final Report.

2. Mapping the Value Chains for CARIFORUM CCIs

As mentioned, this report considers the value chains for the selected CIs using a two‐fold approach: analysis of the supply (CARIFORUM) side, and analysis of the demand (EU) side. The value chains developed are based on the schematology of Film by Aarhus, Alexandra Institute and High Tech Accelerator Innovation Centre (2011). The industry‐specific value chain is presented in Figure 2 with the survey respondents mapped to each activity, and discussed in Sections 3.3.1 – 3.3.3. The actual numbers of respondent involved in each type of activity per Creative Industry are given in the tables in Annex 1.


3. Market Opportunities for CARIFORUM’s Film Industry

3.1. Overview of the Global Film Market

According the MPAA (Motion Picture Association of America) the global box office earnings for 2014 reached €30.2 billion ($36.4 billion),3 representing a 1% increase from 2013 ‐ mostly due to an increase in the international box office which was up 4% from 2013 and accounted for 72% of global box office in 2014. The United States, the largest market in the world, experienced a 24% rise in international box office as compared to 5 years ago.4 Other regions saw their box office increase, such as the Asia‐Pacific Region with a 12% increase as compared with 2013 and maintaining its position as the second largest region in international box office. China, with an unprecedented rise of 34% in box office, comes third followed by Latin America and Europe. The number of cinema screens also increased 6% in 2014 to reach 142,000 worldwide, supported by a 15% surge in Asia‐Pacific region. Digitization of cinemas registered a 14% growth, now covering 90% of the world’s cinemas, a pace slower than 3D screen equipment, which posted a 22% growth in 2014 to reach 51% of coverage around the world.

3.2 . Overview of the European Film Market

In Europe, the production volume has kept a steady growth pace registering a rise from 1,587 to 1,603 films produced, 32% of which were co‐productions. As far as admissions are concerned, US films have experienced a drop from 69.5% of market share in 2013, to 63.1% in 2014.5 As consequence, European films admissions reached a record level of 33.4% market share. Although Europe is a leading film producing region in the world, US films remain the most popular in its cinemas. The value chain of the European film industry consists of talent (writers, filmmakers, and actors), production, post‐production, distribution, film exhibition, recorded music, radio, television, specialized retailing, video rentals, video games, on‐demand audiovisual services and distribution platforms for audiovisual services. The entire audiovisual sector has a turnover of €133 billion of which nearly €17 billion can be attributed to the film sector. More than 650,000 people are employed in the film industry. The vast majority of the talent employed is freelance.

3 Conversion rate applied for 1st January 2015. 4 Motion Picture Association of America (2015) Theatrical Market Statistics 2014. 5 Press Release European Audiovisual Observatory, Council of Europe, Strasbourg (5 May 2015): Box office up in the European Union in 2014 as European films break market share record.


Table 2: Facts and figures on the European Film Industry

Total Employment (2012) 640,760

Total employment in film production, postproduction and distribution

573,555

Employment is non‐speciliazed retail stores

31,205

Authors working in the film industry

36,000

Source: EY Report, Creating growth, Measuring cultural and creative markets in the EU, 2014.

Total Turnover (period

2012 and 2013)

16,649 billion EUR

Box office gross revenues (2013) 6,285

Physical home entertainment (DVD and Blu‐ray rental and sales) (2013)

5,991

Advertising revenue (2012) 671

VOD revenue (2013) 1,526

EU28 exports (2012) 2,176

Source: Source: EY Report, Creating growth, Measuring cultural and creative markets in the EU, 2014 and European Audiovisual Observatory Yearbook (20th Edition) Television, cinema, video and on‐demand audiovisual services, 2014

The European Audiovisual Observatory Yearbook of 2014 (20th Edition)6 has highlighted the following figures and trends for the entire audiovisual sector which, among others, includes the film industry:

Over the last five years (2009‐2013), European audiovisual groups lost 5.3% of their global market share.

Despite the rapid rise in on‐demand services in 2013, the audiovisual sector experienced its second year of stagnation.

Between 2008 and 2012, the operating revenues of the non‐European groups established in the European Union rose from EUR 48.2 to 53.1 billion.

The Observatory reveals “that the entire audiovisual sector experienced a second year of stagnation in 2013. For the third year running, the market generated revenues in the order of EUR 133 billion, with even, for the first time, a very slight fall in its revenues in 2013

6 http://www.obs.coe.int/en/‐/pr‐yearbook‐2014


(‐0.1%).The sector most affected is physical video (‐11.3%), but 2013 was also a year of recession for cinema receipts (‐4.3%), video games (‐1.8%) and broadcasting services (‐0.5%). The growth in the activities of pay‐TV platforms (+2.7%) and in the production of online VoD services (+46.1%) was unable to compensate for the decline in the other activities. The table below presents an overview of the size of the audiovisual market of the EU prepared by the European Audiovisual Observatory:

Table 3: Size of the EU audiovisual market 2009‐2013

According to the Observatory “the stagnation of the European market and the fact that the two growth areas are mainly controlled by American groups means the European groups lost 2% of their global market share between 2012 and 2013 and a total of 5.3% between 2009 and 2013”.


3.2. Trends in the EU for Film

In Europe the digitalization and new consumption trends has severely affected the film industry. As can be seen from the overview of the audiovisual sector above, the sales of DVDs has been decreasing by around 12 % every year. According to the trade organisations, the primary contributors to this decline are increases in piracy and illegal downloading. Most European films are rough versions, with the makers attempting to secure financial resources to progress upgrade production quality etc. As elsewhere, they experience considerable difficulty attracting private funding. It is seen as a risky business because its returns are uncertain, inasmuch as it is difficult to predict whether it will ultimately be successful when it goes before an audience. European film producers therefore try to secure co‐production partners so as to share the costs, and will also try to get funding from public authorities. To further finance the film the producer more often than not will attempt to pre‐sell the distribution rights of the film to sales agents and exhibitors. Every year EU Members States make around €2 billion available for the production of films in the form of soft loans, grants and tax incentives. Public funding is vital for the European film sector both to reduce risks and as an inducement for the attraction of investments from other entities such as private equity investors. In the emerging digital era, one challenge will be to attract and secure financial commitments from new online distribution companies at the pre‐financing stage. Also the film industry will need to be rewarded for its investments and the creators and right holders will need to be paid if films are made available of digital platforms. Only in this way can new investments be made in the production of new films.


3.3. Trends in CARIFORUM for Film

3.3.1 Characteristics of CARIFORUM Film professionals

‐ Of the 55 Film respondents, most are involved in the “creation” and “production” stages of the value chain, with lesser numbers also in PR, Marketing, Advertising (“value chain support activities”). Their distribution along the CARIFORUM Film value chain is illustrated in Figure 2; and the actual number involved in each type of activity is given in the table in Annex 1.

‐ Several of these Film professionals also work in the other CCIs under review – most notably Music ‐ recorded and live (especially in “creation”, some “production” activities, as Promoters and in PR, Marketing, Advertising) and Painting (in the “creation” stage).

‐ Almost 80% of respondents fully own their business; and almost 86% have their business registered under their country’s national law.

‐ About 60% respondents work in their business full‐time, as compared to 40% who work part‐time.

‐ 30% have full‐time (FT) employees, of whom the majority had 1‐4 FT employees (70%) followed by 5‐9 FT employees (23%). By contrast, more than 70% had part‐time (PT) employees; and of these, 65% had 1‐4 PT employees, 10% had 5‐9 PT employees, and 16% had 10‐15 PT employees.

‐ 73% of respondents provide both Film‐related services and goods (whether physical or ‘intangible’ (virtual, digital); 25% provide only service(s) and 2% only goods.


Figure 2: Mapping of respondents along Value Chain for CARIFORUM Film

Production

Production ‐ incl. producer, actor, editor, composer, musician, technicians/experts (camera, lighting, sound, make‐up, hair, costume etc.)

Talent management services for film/TV productions

Location, transport/travel, catering, security & accommodation services

Manufacture of DVDs & other digital formats of films/TV productions

Distribution

Distribution of films/TV productions (incl. sales agents and distributors)

Cinema networks

TV broadcasters

Film festivals

Retail outlets (physical premises)

Video On Demand (VOD) platforms / services (for film/TV)

Other online sales platforms / services

Consumption

Individual buyers

Creation

Creation ‐ incl. script writer, director

PR, Marketing, Advertising

Financing & Investment; Accounting services; Legal services; IP registration / management

Shipping / freight forwarding, incl. packaging & insurance services

Teaching (at any level) ‐ incl. classes, lectures, workshops etc.

= Value‐adding Activities = Value Network (Actors & Relations) = Value Chain Support Activities

= Highest nos. of respondents = Mid‐range nos. of respondents = Lower nos. of respondents


‐ There is considerable variation in the longevity of respondents’ businesses, from 1

year to 50+ years. The majority however fall within the 1‐5 year and 6‐10 year ranges.

Figure 3: Company age range for CARIFORUM Film respondents

‐ In terms of their last 12 months, 41% of the Film respondents recorded sales of < US$ 9,999; 43% of US$ 10,000 ‐ US$ 49,999; and 12% of US$ 50,000 ‐ US$ 99,999. The remainder (4%) noted sales of > US$ 100,000 (‐ one respondent indicated sales of > US$ 1 million). This is illustrated in Figure 4, along with the export sales of Film.

3.3.2 Current export activities of CARIFORUM Film professionals

‐ Considering their exports for the last 12 months, almost 60% of respondents indicated sales of < US$ 9,999; 24% of US$ 10,000 ‐ US$ 49,999; and 12% of US$ 50,000 ‐ US$ 99,999. Only 1 individual reported export sales of ≥ US$ 100,000. As such, it can be seen that exports already constitute a significant component of sales for the Film professionals who responded to this survey exercise.

0%

5%

10%

15%

20%

25%

30%

35%

< 1 year 1‐5 years 6‐10 years 11‐15 years 16‐20 years > 20 years

How many years ago was your company founded?


Figure 4: Comparison of total and export sales for CARIFORUM Film respondents

‐ 52 % do not have an Export Strategy for their business, the other 48% do.

‐ 40% of respondents are currently exporting; and they use all export modalities to deliver/sell their creative goods/services, promote and otherwise transact business.

The following Figure 5 indicates the relative importance of the five export modes used by CARIFORUM’s Film professionals to sell their goods/services.

41%

43%

12%

2% 2%

Please provide an indication of your sales in US$ equivalent for the last 12 months: (select one option)

Less than US$ 9,999 Between US$ 10,000 and US$ 49,999

Between US$ 50,000 and US$ 99,999 Between US$ 100,000 and US$ 499,999

Between US$ 500,000 and US$ 999,999 More than US$ 1,000,000

59%23%

12%

6%

Please provide an indication of your export sales in US$ equivalent for the last 12 months: (select one option)

Less than US$ 9,999 Between US$ 10,000 and US$ 49,999

Between US$ 50,000 and US$ 99,999 Between US$ 100,000 and US$ 499,999

Between US$ 500,000 and US$ 999,999 More than US$ 1,000,000


Figure 5: Most important export modes for CARIFORUM Film professionals

‐ Specific to their e‐commerce activities, respondents listed the following as online platforms/services they employ:

o Email, websites

o Social media: overall, there is widespread use ‐ in particular, Facebook (80% of respondents) and Twitter (20%). Also used but to a lesser extent are LinkedIn, and Instagram.

o Online stores, platforms and services ‐ such as Youtube, TV networks, www.vimeo.com and https://soundcloud.com.

‐ For those who export: (countries listed in decreasing order of popularity)

o 35% do so to another country in CARIFORUM; with Trinidad & Tobago being the most popular, followed by Barbados, Dominica, Dominican Republic, Guyana and Jamaica in equal measure.

o More than 50% export to a country in the EU, with the UK and France being the most popular markets, followed by Germany.

o Over 80% export elsewhere in the world, with the US being the most popular followed by Canada.

The popularity of the individual countries for export is given in the bar charts in Figure 6. The % is the number of respondents exporting to the country as a proportion of the total number exporting to that region. As some of the absolute values are small, only the relative ranking of countries is discussed above.

You use the internet (i.e. e‐commerce), 41.2%

You use telephone, courier and/or postal

services, 11.8%

You sell to persons from overseas who are visiting your country, whether for

tourism or business, 11.8%

You have established a business in your overseas

market(s), 11.8%

You (or someone else from your team) travel in person, for a temporary period, to your overseas market(s), 23.5%

Which of these is your SINGLE most important means for selling your creative goods/services? (please select only one option)


Figure 6: Prevalence of exports to CARIFORUM, EU and other markets by CARIFORUM Film professionals

0% 2% 4% 6% 8% 10% 12% 14% 16% 18%

Antigua and Barbuda

The Bahamas

Barbados

Belize

Dominica

Dominican Republic

Grenada

Guyana

Haiti

Jamaica

Montserrat

St. Lucia

St. Kitts and Nevis

St. Vincent and the Grenadines

Suriname

Trinidad and Tobago

To which of the following CARIFORUM countries do you export? (select as many as apply) Please do not check your own country of business


‐ Of the almost 60% respondents who are not currently exporting, the majority have never tried (80%); and the remaining 20% indicated that they had tried but stopped.

‐ Of note, almost 70% of respondents who are not currently exporting would be interested in starting (or resuming) their exports. Only 4% stated that they are not interested; the rest (17%) are not yet interested.

0% 5% 10% 15% 20% 25% 30%

Denmark

Estonia

Finland

France

Germany

The Netherlands

Spain

Sweden

UK

Other (please specify)

To which of the following EU countries do you export? (select as many as apply)

0% 5% 10% 15% 20% 25% 30% 35% 40% 45%

US

Canada

Latin America

Central America

Africa

Asia

Other (please specify)

To which of the following markets do you export? (select all that apply)


3.3.3 Export support framework for CARIFORUM Film professionals

‐ More than 70% of respondents noted that they have not received business support from anyone specific for their export efforts. For those who have, support has come predominantly from government agencies as well as spouse/domestic partner or friend, followed by a business coach/advisor and business organisation. This is indicated in Figure 7.

Figure 7: Sources of support used by CARIFORUM Film professionals for their export activities

‐ Almost 35% of CARIFORUM Film respondents belong to a business organisation, whether local/national, regional or international. For most, this is an ‘industry‐specific association, network, alliance, or group’. This membership has boosted their export efforts through workshops and networking opportunities. Of note is that in the DR, it is mandatory for all participants in the formalized film industry to belong to the National Film Commission (government).

0% 5% 10% 15% 20% 25% 30%

Bank manager

Financial/Investment advisor

Accountant

Lawyer/attorney

Business coach/advisor

Business mentor

Business organisation(s)

Government agency(ies)

Spouse, domestic partner orfriend

Other (please specifyprofession or relation to you)

In relation to your export activities only, please indicate from whom you have received business support: (check all that apply)


4. Bottlenecks along the Film Value Chain

Due to the small size of the domestic markets in nearly all CARIFORUM countries as well as the persistent decrease in local demand, there is need for considerable expansion of foreign markets. Whilst there is scope for the increase of creative exports to the EU, numerous challenges are noted.

4.1. Export challenges facing CARIFORUM Film professionals

‐ 56% of respondents have experienced challenge(s) to their creative exports, to greater or lesser extent. As indicated in the table below, the challenges considered most severe are ‘Inadequate/inefficient enabling environment to support export (e.g. legislation, tax incentives, customs etc.)’ and ‘Lack of access to financing for export activities’.

Table 4: Rating of export challenges by CARIFORUM Film professionals (no. of respondents)

From your own experiences, how would you rate the following challenges to your export efforts?

Answer Options Not very important

Quite important

Very important

N/A Rating Average

Lack of skills/knowledge in how to export 1 8 9 3 2.44

Lack of access to technology or equipment required for export activities

5 3 9 4 2.24

Lack of market information (e.g. trends, regulations, consumers etc.)

1 5 13 2 2.63

Lack of information on trade fairs, festivals etc in export markets

0 8 11 2 2.58

Lack of networking or contacts 0 8 11 2 2.58

Unsure how to reach customers, suppliers, partners etc. overseas

2 7 10 2 2.42

Concerns wrt protecting your Intellectual Property in export markets

5 7 7 2 2.11

Lack of public support to attend trade fairs, festivals in export markets

5 7 8 1 2.15

Inadequate/inefficient enabling environment to support export (e.g. legislation, tax incentives, customs etc.)

2 2 15 2 2.68

Inadequate support services (e.g. shipping, insurance, packaging, supply of raw materials etc.)

4 6 7 4 2.18

Lack of organisation of /in creative sector, with export promotion left to individuals

1 7 12 1 2.55

Lack of access to financing for export activities

0 5 16 0 2.76

Poor treatment of creative enterprises by financial institutions

2 4 14 1 2.60


Poor treatment of creative enterprises by business organisations

2 7 10 2 2.42

Poor treatment of creative enterprises by government agencies

2 7 10 2 2.42

No. respondents = 21

‐ As shown in Figure 8, the single most important export challenge facing CARIFORUM

Film professionals is ‘Lack of financing for export activities” (noted by 24% of respondents). This is followed by ‘Lack of skills/knowledge in how to export’ and “Poor treatment of creative enterprises by financial institutions (both 14%).

Figure 8: Most important export challenges facing CARIFORUM Film professionals

‐ The following were not noted by any of these Film professionals as their single most important export constraint:

o Poor treatment of creative enterprises by business organisations

o Lack of market information (e.g. trends, regulations, consumers etc.)

o Inadequate support services (e.g. shipping, insurance, packaging, supply of raw materials etc.)

o Concerns wrt protecting your Intellectual Property in export markets

Lack of skills/knowledge in how to export, 14.3%

Lack of access to technology or equipment

required for export activities, 9.5%

Lack of market information (e.g. trends, regulations, consumers

etc.), 0.0%

Lack of information on trade fairs, festivals etc in export markets, 4.8%

Lack of networking or contacts, 9.5%

Unsure how to reach customers, suppliers, partners etc. overseas,

0.0%

Concerns wrt protecting your Intellectual Property in export markets, 0.0%

Lack of public support to attend trade fairs, festivals in export

markets, 4.8%

Inadequate/inefficient enabling environment to support export (e.g. legislation, tax incentives, customs

etc.), 4.8%

Inadequate support services (e.g. shipping, insurance, packaging, supply of raw materials

etc.), 0.0%

Lack of organisation of /in creative sector, with export

promotion left to individuals, 4.8%

Lack of access to financing for export activities, 23.8%

Poor treatment of creative enterprises by financial institutions, 14.3%

Poor treatment of creative enterprises by business organisations,

0.0%

Poor treatment of creative enterprises by government

agencies, 4.8%

Other (please specify), 4.8%

Select the ONE most important constraint which is currently impacting your export efforts:


o Unsure how to reach customers, suppliers, partners etc. overseas

‐ As relates to accessing financing for export, none of the respondents have been

successful, with (relative) ease as depicted in Figure 9. Rather, approx. 30% were successful but after a difficult/long process; approx. 30% tried but were not successful; and more than 40% have not tried.

Figure 9: Experience of CARIFORUM Film professionals to access export financing

‐ The most important challenges in terms of export‐related financing are ‘Lack of suitable options available’ followed by ‘You were unable to meet the lender’s security/collateral requirements’. The ratings of the various export financing challenges are presented in Table 4 below.

Yes, with (relative) ease, 0.0%

Yes, but it was a difficult/long process,

28.6%

No, I tried but was not successful, 28.6%

I have not tried, 42.9%

Have you been able to access financing for your export activities?


Table 5: Rating of export financing challenges by CARIFORUM Film professionals (no. of respondents)

Specific to finance for exports, how would you rate the following in terms of their importance?

Answer Options Not very important

Quite important

Very important

N/A Rating Average

Lack of suitable financing options available to you

0 0 6 0 3.00

You were unable to meet the lender’s security/collateral requirements

0 1 4 1 2.80

Lender was not satisfied with the state/quality of your business documentation

1 2 0 3 1.67

Lender approved a loan but the amount was too low

1 1 2 2 2.25

Lender approved a loan but the term was too short

1 0 2 3 2.33

Lender approved a loan where the conditions were otherwise unacceptable

1 1 1 3 2.00

No. respondents = 6

‐ As relates to venture capital as an option to finance their business's export growth

efforts, none of the Film respondents have access to venture capital: almost 60% stated that they do not have access to venture capital, the remaining 40% were unsure.

4.2. Challenges within EU for CARIFORUM Film

The feedback from the 50 stakeholders along the value chain of the European film sector has shown that cooperation between the European and Caribbean film sector is still lacking and that there is room from improvement. In particular the representatives of the Black Filmmaker International Film Festival (BFM Media) showed a strong interest in developing business partnerships with the Caribbean film industry. Previously, the festival had selected films from Trinidad and Tobago, Barbados and Guyana. However the majority of European and national trade associations contacted were not aware of any film project being carried out by their members in one or more of the CARIFORUM countries. The low level of cooperation was in their view not caused by existing legal or technical barriers, but more due to the lack of trade opportunities. Only the UK and Italy had signed co‐production agreements with Jamaica and Cuba (non‐CARIFORUM) respectively. For the Danish Film Institute, the main impediment was the non‐existence of cultural ties with the Caribbean region.


The COBO foundation in the Netherlands funds co‐productions and runs a number of activities in Suriname, such as, training and film festivals. Dutch filmmakers can receive assistance if they wish to produce a documentary film. For historic reasons there is an interest of Dutch films professionals to operate in this Caribbean country. There is little interest in exploring the possibilities in the other countries as the main focus for COBO is currently financing co‐productions with China. China is very eager to have more content in their cinemas.


5. Recommendations to Boost Export of CARIFORUM Film

5.1. Improving export support for CARIFORUM Film professionals

‐ As previously noted, almost 70% of respondents who are not currently exporting would be interested in starting (or resuming) their exports.

‐ 100% of respondents stated that they would be interested in accessing support services to boost their creative exports. As illustrated in Figure 10, when given a selection of possible export‐related services:

o The most popular were ‘Participation in promotional activities overseas e.g. trade missions/fairs, exhibitions, festivals etc.’ (selected by approx. 14% of respondents) and ‘Support to broaden/strengthen your business networks/contacts overseas’ (13% of respondents)

o This was followed by ‘Access to export finance and/or credit guarantee measures’; ‘Access to export‐related advice and market information’; ‘Access to export‐related training’; and ‘Support to protect your Intellectual Property in export markets’ (all selected by approx. 10% of respondents).


Figure 10: Prioritisation of export services by CARIFORUM Film professionals

0% 2% 4% 6% 8% 10% 12% 14% 16%

Access to export‐relatedtraining

Access to export‐related adviceand market information

Participation in promotionalactivities overseas (e.g. trademissions/fairs, exhibitions,…

Support tobroaden/strengthen yourbusiness networks/contacts…

Support to protect yourIntellectual Property in export

markets

Support for (pilot) exportinitiatives for creative

enterprises ‐ at individual level

Support for platforms, clustersand networks for creativeenterprises ‐ at group level

Support to improve nationalenvironments to make moreconducive for creative exports

Access to export financeand/or credit guarantee

measures

Sensitisation of public‐ andprivate‐sector entities to make

more friendly towards…

Other (please specify):

What type of export services would you be most interested in? (select as many as apply)


‐ As shown in the following Figure 11, more than 40% of the Film respondents stated that they would be willing to pay for/contribute towards such services at this point in time.

Figure 11: Willingness of CARIFORUM Film professionals to pay for export‐related services

‐ Of the afore‐mentioned export‐related services, most of the respondents indicated that they would be willing to pay for/contribute towards ‘Participation in promotional activities overseas e.g. trade missions/fairs, exhibitions, festivals etc.’ (selected by 23% of respondents), ‘Export‐related training’ (16% of respondents), ‘Export‐related advice and market information’ and ‘Support for (pilot) export initiatives for creative enterprises ‐ at individual level’ (both 14% of respondents). This prioritisation is indicated in Figure 12 below.

Yes, 43.2%

No, 18.9%

Not sure, 24.3%

Not at this point, 13.5%

Would you be willing to pay for/contribute towards any of these service(s) to boost your creative exports?


Figure 12: Export services for which CARIFORUM Film professionals would pay

‐ When asked whether they reserve a budget to support their exports, 6% responded affirmatively (with 1 person indicating US$ 10,000 as the budgeted amount); 38% do not; and the remainder (56%) responded “not yet”.

‐ As illustrated in the following Figure 13, when asked which export‐related service(s) should be prioritised by Caribbean Export:

o The most popular was ‘Facilitation of export finance and/or credit guarantee measures’ (selected by more than 30% of respondents).

o This was followed by: ‘Provision of export‐related training’ (selected by 25% respondents), and ‘Support to broaden/strengthen your business networks/contacts overseas’ (13% of respondents)

0% 5% 10% 15% 20% 25%

Export‐related training

Export‐related advice andmarket information

Participation in promotionalactivities overseas (e.g. trademissions/fairs, exhibitions,…

Support tobroaden/strengthen yourbusiness networks/contacts…

Support to protect yourIntellectual Property in export

markets

Support for (pilot) exportinitiatives for creative

enterprises ‐ at individual level

Support for platforms, clustersand networks for creativeenterprises ‐ at group level

Access to export financeand/or credit guarantee

measures

Other (please specify):

Which of the following would you be willing to pay for/contribute towards? (select all that apply)


Figure 13: Export services to be prioritised by Caribbean Export for CARIFORUM Film professionals

‐ The following two services were not noted by any of these Film professionals as priorities for Caribbean Export:

o Support to protect your Intellectual Property in export markets.

o Support to platforms, clusters and networks for creative enterprises – at group level.

Provision of export‐related training, 25.0%

Provision of export‐related advice and

market information, 6.3%

Organisation of promotional activities overseas (e.g. trade missions, fairs,

exhibitions, festivals etc.), 6.3%

Support to broaden/strengthen your business networks/contacts

overseas, 12.5%

Support to protect your Intellectual Property in export markets, 0.0%

Support for (pilot) export initiatives for creative

enterprises ‐ at individual level, 6.3%

Support to platforms, clusters and networks for creative enterprises ‐ at

group level, 0.0%

Support to improve national environments to make more conducive for creative exports, 6.3%

Facilitation of export finance and/or credit guarantee

measures, 31.3%

Sensitisation of public‐ and private‐sector entities to make

them "friendlier" towards creative enterprises, 6.3%

In your opinion, which ONE of the following export support measures should be prioritised by the Caribbean Export Development Agency in the year ahead?


5.2. Good practices in the EU Member States for Film

Unlike the situation within most of CARIFORUM, each of the selected nine EU Member States has a film institute that, among other things, funds the production and distribution of films made by firms domiciled in these countries (see table A3‐1: List of stakeholders for Film in the selected EU Member States in Annex). For instance, in France the government set up uniFrance Film, which gathers more than 900 French industry professionals (producers, talents, sales agents etc.). The main goal of uniFrance is promote the distribution of French films abroad. To do this, it carries out the following activities:

1. Film marketing:

Organizes the biggest French cinema market in Paris every year: Rendezvous

with French Cinema;

Showcases French cinema through engagement in some of the most

important international film centres (Cannes, Berlin, Toronto, Los Angeles,

Hong Kong); and

Provides direct support to film distributors in target countries to

commercially release French films in their markets.

2. Increasing awareness of French cinema among:

The international press (e.g. through organizing regional press junkets with

French film talent); international exhibitors (through participating in

exhibitor conventions in 10 countries); and networking with buyers of film

content for web and VOD.

3. Organization of French film festivals:

In 10 strategic countries (including the USA, Germany, Italy, UK, Russia,

Japan, China);

Online worldwide (myFrenchFilmFestival.com);

Providing active support for French films at 60 international festivals

(including Cannes, Berlin, Locarno, San Sebastian and Pusan).

4. Master classes

Organizing master class with French directors in film schools and international universities abroad.

5. Subtitling

Promoting and subtitling French short films for film festivals, markets and

online festivals.

While the services provided by unifrance Film are more extensive than in most of the other selected EU member states – given the international reputation of France as one of the world’s main film centres – many of the other countries are adopting some of the same strategies.


The landscape also includes a significant number of EU‐wide mechanisms for disseminating information on European films and co‐productions featuring EU partners. One such avenue is Cineuropa (http://cineuropa.org/p.aspx?t=index&lang=en) which is described as “the first European portal dedicated to cinema and audiovisual in 4 languages. With daily news, interviews, data bases, in‐depth investigations into the audiovisual industry, Cineuropa aims at promoting the European film industry throughout the world”. Similarly, Europa Cinemas, founded in 1992 with funding from the MEDIA programme (Creative Europe) and from the Centre national du cinéma et de l'image animée (CNC), is a film theatre network7 focusing on European films. Its objective is to provide operational and financial support to cinemas that commit themselves to screen a significant number of European non‐national films, to offer events and initiatives as well as promotional activities targeted at young audiences. In 2015, its network comprises 42 countries, 596 cities, 977 cinemas and 2,350 screens.

5.3. Scope for business cooperation between the EU and CARIFORUM for Film

Although the audio‐visual industry has not been included in the EPA, there are opportunities to access the EU film and video market through its inclusion in the Protocol on Cultural Cooperation. This represents an area of preference for CARIFORUM countries given the sensitivities and the usual exclusion of the audio‐visual sector from multilateral and bilateral agreements by the EU and other developed countries. There is some scope for bilateral collaborations. Currently, Jamaica is the only CARIFORUM member state to have signed a film co‐production treaty with an EU member state (the UK), theoretically incentivizing business and creative linkages between both countries. However, this has not, after several years of existence, been at all utilized, arguably because of the lack of competitive offerings (incentives etc.) for the film industry in Jamaica. The fact that the UK took the decision not to enter into any other co‐production agreements in CARIFORUM, ironically, may also have denied Trinidad and Tobago – which has since established a fund for film production – and the Dominican Republic the opportunity to benefit from closer collaboration with the UK film industry. The perennial problem of film financing presents a significant hurdle for the film industry in CAROFORUM, a problem exacerbated by the fact that the small size of domestic markets and the ready availability of relatively cheap foreign content via cable and the internet, means that the industry must focus on exports if it is to make any sustainable impact. A few CARIFORUM member states have asserted an interest in the film industry and many have re‐worked their tax regimes to include incentives benefitting film production, (as well as undertakings in other creative and cultural industries) but arguably their main focus has been on positioning themselves as film production locations for incoming film teams, rather than on stimulating their local and other creative and cultural industries. With the exception of Trinidad & Tobago (via the Trinidad & Tobago Film Company), and the Dominican 7 http://www.europa‐cinemas.org/en


Republic (through its Film Promotion Fund), most member states do not offer any type of seed financing of the type many in the film industry suggest is essential if a production‐for‐export industry is to grow. A few film‐makers from the Greater Antilles have been exploring the scope for collaborations with their counterparts in the French & Dutch Caribbean, and thus better positioning themselves to seek production finance from the support institutes in France & the Netherlands as well as direct market access to EU member states. The model utilized in the French Caribbean territories is worth examining, even though it is acknowledged that as departments of France, productions originating in continental France and using the French Caribbean as a production location are effectively still taking place in France and thus are able to benefit from the same incentives. However, there is a distinct difference between the use of CARIFORUM countries as a one‐shot production location (a fair number of internationally recognized films have been predominantly shot in the region) and using an individual member state as a production location for sustained shooting (e.g. as the backdrop for a TV series). The latter has been eagerly sought out by film commissions throughout CARIFOURUM, in acknowledgement of the impact for skills development in the audio‐visual industry and other elements in the value chain (e.g. music scoring, site services etc.) as well as for tourism from use of relatively untraditional filming locations such as Jersey the location of Bergerac; Botswana (The # 1 Ladies Detective Agency), Canada’s Atlantic provinces (The Republic of Doyle)... and many more locales that have been used to good effect in TV productions that have earned wide audiences. In this respect, the fact that in 2015 a British‐French funded police procedural series – Death in the Caribbean – shot in and near Guadeloupe and featuring the French Caribbean islands as a scenic backdrop will in 2016 enter its 5th season8 on BBC One TV in the UK and the France 2 channel in that country is a hopeful indication that similar efforts could bear fruit elsewhere in the region.

5.4. Image and Reputation of CARIFORUM CCIs

The region’s indigenous film output, that is, films developed in the countries of CARIFORUM using domestic themes and story‐lines rather than simply films shot in an island or tropic location etc., is virtually unknown in the EU marketplace. While individual countries may have name recognition (and thus, potentially, brand visibility) the region has no legacy of widely‐known indigenous film products. In that sense, Jamaica’s The Harder They Come made in the 1970s and the Dominican Republic’s In the Time of the Butterflies from 2001 can be considered outliers. However, a number of member countries, in particular the Dominican Republic, Trinidad & Tobago, Jamaica and Haiti, have indicated their interest in growing their audio‐visual

8 https://www.facebook.com/BBCOne/photos/a.500946183259138.112990.470911516262605/906288566058229/?type=1


industries, and in some cases have begun to put in the infrastructure to support such – even though it is conceded that much more needs to be done. The infrastructure, comprising resources derived from both the public and private sector, includes training facilities (up to tertiary level); marketing programmes (including film festivals) and – at least at the discussion stage – some suggestion that governments should consider a quota or preference system whereby a certain number of hours of broadcast time on channels serving these markets must be dedicated to domestic content, thus providing a market for indigenous producers, in a region where cable television service has largely eroded the role of cinemas. With respect to the last, the concern has been expressed that in some of the smaller CARIFORUM states, such a measure would be impractical given the small size of their markets and the corresponding miniscule numbers that are engaged in the film/audio‐visual industries. A suggestion that this may be modified to accord ‘national treatment’ to audio‐visual products from other member states has been occasionally floated but has been met with little discernible enthusiasm.

5.5. Export support activities

Currently, it is not believed that any CARIFORUM member states provide any support specific to the export of the audio‐visual services of their CCIs. To the extent that film festivals – whether those staged in the region or those organized in target marketplaces – are viewed as important forums for bringing the region’s audio‐visual products to a larger marketplace, it is known that individual CCIs have participated in such. It is however, not clear what the results have been like, and it is not clear that in the absence of a coordinated strategy that, for instance, groups the works of the CARIFORUM CCIs under a common brand (as is being built‐out by Caribbean Tales9) the chances of making an impact on the selected EU Markets has much of a chance of succeeding.

5.6. Expand commercial activities

There is arguably scope for the region’s film industry to create more of a presence in the international community of potential financiers, distributors and ultimately consumers. However, the expense involved in going it alone will serve as a limitation even as it is acknowledged that such forums as on‐line marketing of content has made marketing less expensive.

9 The CaribbeanTales International Film Festival (CTFF) “celebrates the talents of established and emerging filmmakers of Caribbean heritage who practise their art across the Caribbean Diaspora worldwide – including Canada and the Caribbean, Europe, the Americas, Africa, China, India and the Middle East. CTFF presents a multi‐ethnic mix of exciting and dynamic films that showcase diverse shared stories and cultures”. http://www.caribbeantales.ca/CTFF/festival/


Still if industry best practices are to be considered, the following seem to be indispensable:

Identification and targeting of specific film festivals. Not only are there major

locations for the top film festivals worldwide, but the numbers of segment/niche

events have also been increasing and any programme of identification/targeting

would be well‐advised to assess whether the objective is the creation of ‘feature

films’ or whether the areas of interest may include content that falls into such

categories as Animation, Children/Youth, the broad category of Documentaries,

Short Films, or Food etc. The latter category is a growing one – dedicated to seeing

food on film as a window to the cultural mores of societies, and may present

opportunities for trans‐industry collaborations.

Development and Nurturing of Networks. CARIFORUM CCIs should make the effort

to plug into the many national and EU‐wide networks that exist and explore

partnership possibilities.

Develop/strengthen linkages between CARIFORUM film professionals. Currently

the Caribbean Audiovisual Network (including its Association of Caribbean Film

Commissions sub‐grouping) is working on creating such a network throughout all

Caribbean.


Annexes


Annex 1: Details of Survey Respondents – Film

Table A1: Breakdown of respondents in CARIFORUM Film value chain

If in ‘Film’, please identify what area(s) you work in: (select as many as apply)

Answer Options Response Percent

Response Count

Creation ‐ incl. script writer, director 80.4% 41

Production ‐ incl. producer, actor, editor, composer, musician, technicians/experts (camera, lighting, sound, make‐up, hair, costume etc.)

98.0% 50

Talent management services for film/TV productions 31.4% 16

Location, transport/travel, catering, security & accommodation services 23.5% 12

Manufacture of DVDs & other digital formats of films/TV productions 31.4% 16

Distribution of films/TV productions (incl. sales agents and distributors) 23.5% 12

Cinema networks 9.8% 5

TV broadcasters 29.4% 15

Film festivals 33.3% 17

Retail outlets (physical premises) 3.9% 2

Video On Demand (VOD) platforms / services (for film/TV) 7.8% 4

Other online sales platforms / services 15.7% 8

PR, Marketing, Advertising 45.1% 23

Financing & Investment 0.0% 0

Accounting services 3.9% 2

Legal services 0.0% 0

IP registration / management 0.0% 0

Shipping / freight forwarding, incl. packaging & insurance services 0.0% 0

Teaching (at any level) ‐ incl. classes, lectures, workshops etc. 25.5% 13

Other (please specify) 3.9% 2

answered question 51


Annex 2: List of Stakeholders Consulted for Film in EU Member States

Table A2‐1: List of stakeholders consulted for Film in the EU

Companies / Trade Associations Activity(ies) of VCA Country / area

European Film Export Association Advocacy, Distribution, Consumption, Fair Trade, Networking

EU

European Film Promotion Distribution, Export, Promotion, Networking

EU

European Children Film Association Creation, Production, Distribution

EU

European Association of Animation Films Promotion, networking EU

European Coordination of Film Festival Distribution, Consumption, Promotion

EU

Federation of Film and Audiovisual Composers of Europe

Creation, Networking EU

Association des Cinémathèques Européennes

Consumption, Promotion EU

European Producers Club Production, Networking EU

Europa International (sales agents) Distribution EU

Europa Cinema (Exhibitors) Distribution, Consumption EU

Europa International (Film Distributors) Distribution EU

Pathé Production, Distribution France

Gaumont Production, Distribution France

Kinepolis Distribution, Consumption ES, FR, and NL

Europa Corp Production FR

RAI Cinema Production, Distribution IT

Fandango Production, Distribution IT

Constantin Film Production DE

Cattleya Production IT

Nordisk Film Production, Distribution DK

Wild Bunch Distribution FR

Zentropa Production, Distribution DK


Companies / Trade Associations Activity(ies) of VCA Country / area

Black Filmmaker International Film Festival Distribution, Consumption UK

Berlinale Distribution, Consumption DK

Cannes Marché du Film Distribution, Consumption FR

IBC Creation NL

International Film Festival Rotterdam Distribution, Consumption NL

MIPCOM, Cannes Distribution, Consumption FR

Tampere Film Festival Distribution, Consumption FI

European Audiovisual Observatory Research EU

Nordic film and TV Fund Production Funding

Danish film institute Production Funding and Distribution

DK

Finnish Film and Audiovisual Export Distribution, Export, Fair Trade FI

Association des exportateurs de films Advocacy, Networking, Distribution, Export

FR

CNC Production Funding and Assistance Distribution

FR

Unifrance Distribution, Export, Networking and Promotion

FR

German Federal Film Board Production Funding DE

Ministero per i beni e le attivita culturale Promotion IT

Eye International Production and Distribution NL

Netherlands Film Fund Film production funding NL

Catalan Film Production, Distribution ES

Instituto de la cinematografia y de las artes Promotion Production and Distribution

ES

Film London Festival Promotion UK

COBO Stichting Financing of co‐productions NL


Annex 3: Key EU Stakeholders for CARIFORUM’s Film Industry

To identify the market opportunities for the CARIFORUM CCIs in the EU, a list of the key stakeholders were selected on the basis of the following three criteria:

‐ International: they must have an evident interest in developing relationships with the CARIFORUM region or with experience with international markets.

‐ Geographical: they can be either European or national organisations with a clear international profile.

‐ Practical: they must have a practical approach to international cooperation, and be willing to organise and take part in practical initiatives such as events, seminars, training, B2B development activities, etc.

The stakeholders were grouped per CCI sub‐sector and EU Member State in the following six categories:

‐ Main European trade bodies: Trade bodies are the main stakeholders responsible for increasing business opportunities of European companies and improving their visibility at international level. This section includes European trade bodies and the main national trade bodies active at European/international level.

‐ Europe‐wide rights management associations: Europe is the world region where the practice of collective rights management is most established, especially for some sub‐sectors such as music. Collective management organisations, however, exist also for many other sectors and now European associations of national collective management organisations have been established to further support copyright and related rights. This category encompasses the European collective rights management association (where they exist) as well as the main national rights management bodies that are members (if particularly active at international level).

‐ Main industrial stakeholders in Europe: Although SMEs are predominant across the European cultural and creative industries, Europe also counts internationally‐known companies or industrial groups in almost all cultural and creative sub‐sectors. These are listed in this third group.

‐ Relevant trade fairs and festivals: Some of the world’s largest trade fairs of relevance to CCIs take place in Europe, from visual arts, to cinema, music, fashion and design.

‐ Main public institutions and bodies supporting internationalisation of CCIs in the EU Member States and Programmes of EU Member States and the EU to support the internationalisation of their CCIs.

These stakeholders for CARIFORUM’s Film Industry are listed in the following table.


Table A3‐1: List of stakeholders for Film in the selected EU Member States

Type of stakeholder Name Website

Main European Trade Bodies and Networks

European Film Export Association (AEFE) http://www.efea.info/

European Film Promotion http://www.efp‐online.com/en/index.php

European Children Film Association http://www.ecfaweb.org/

European Association of Animation Films http://www.cartoon‐media.be/

European Coordination of Film Festival http://www.eurofilmfest.org/

European Film Agency Directors Association (EFADs)

http://www.efads.eu/

Federation of Film and Audiovisual Composers of Europe (FFACE)

http://www.fface.org/

Association des Cinémathèques Européennes http://www.acefilm.de/

European Producers Club http://www.europeanproducersclub.org/

Europa International (Sales agents)

Europa Cinema (Exhibitors)

Europa International (Film Distributors)

Europe‐wide and National Right Holder Associations

AGICOA ‐ Association of International Collective Management of Audiovisual Works in the area of TV retransmission means. It collects and distributes the payments of royalties to the producers of audiovisual works and/or their rightsholders.

http://www.agicoa.org/

FIAPF – international Federation for Film Producers Association

http://www.fiapf.org/

Main industrial stakeholders in Europe

Pathé (FR) http://www.pathe.fr/

Kinepolis (B, ES, NL, F) – cinema network

Europa Corp (FR) – production and distribution http://www.europacorp.com/



Gaumont (FR) – production and distribution http://www.gaumont.fr/

RAI Cinema (IT) ‐ production and distribution http://www.raicinema.rai.it/

Fandango (IT) ‐ production and distribution http://www.fandango.it/

Constantin Film AG (DE) ‐ production and distribution

http://www.constantin‐film.de/

Cattleya (IT) – Film and TV production http://www.cattleya.it/

Nordisk Film (DK) – producer and distributor http://www.nordiskfilm.com/

Wild Bunch (FR) – independent film distribution and production services company

www.wildbunch.biz/

Zentropa (DK) – film production www.zentropa.dk

Trade fairs and festivals

Black Filmmaker International Film Festival (UK)

http://www.bfmmedia.com/index.php?option=com_content&task=view&id=168&Itemid=198

Berlinale (DE) http://www.berlinale.de/en/

Cannes Marché du Film in (FR) http://www.marchedufilm.com/

IBC Amsterdam (NL) http://www.ibc.org/

International Film Festival Rotterdam (NL) www.filmfestivalrotterdam.com

MIPCOM, Cannes (FR) www.miptv.com

San Sebastian Film Festival (ES) http://www.sansebastianfestival.com/in/

Public bodies and programmes

British Film Institute (BFI) (UK) http://www.bfi.org.uk/

Centre National de la Cinématographie, CNC (FR)

Fonds Sud Cinéma

www.cnc.fr

Danish Film Institute (DK) www.dfi.dk

Directorate General for Cinema of the Italian Ministry of Cultural Heritage, Activities and

http://www.cinema.beniculturali.it/



Tourism (IT)

Estonian Film Institute (EE) http://filmi.ee/en

Finnish Film Foundation (FI) www.ses.fi/en

German Federal Film Board www.ffa.de

Ibermedia Fund (ES) http://www.programaibermedia.com/nuestras‐convocatorias/

Institute of Cinematography and Audiovisual Arts (ICAA) (ES)

http://www.mecd.gob.es/cultura‐mecd/areas‐cultura/cine.html

Netherlands Film Fund (NL) www.filmfonds.nl

uniFrance Film (FR) http://en.unifrance.org/

World Cinema Fund, a joint initiative of the German Federal Cultural Foundation and the Berlin Film Festival (DE)

https://www.berlinale.de/en/branche/world_cinema_fund/wcf_profil/index.html

European programmes

Creative Europe Sub Media Programme of the European Commission (Creative Europe)

http://ec.europa.eu/programmes/creative‐europe/

Eurimages of the Council of Europe (co‐production)

http://www.coe.int/t/dg4/eurimages/default_en.asp

Reg Export Strategy for CARIFORUM Creative Industries - Film VCA Report

Documents

Transcript of Reg Export Strategy for CARIFORUM Creative Industries - Film VCA Report